The Location: Milldale, Peak District

For this week’s session, I headed to one of my favorite spots: Milldale in the Peak District. It’s a stunning area in Derbyshire, known for its steep hills, winding rivers, and (usually) unpredictable weather.

However, I arrived to find a “problem”—the sun was shining! It was a beautiful, clear day, which made shooting for a “Rain” challenge impossible. But in photography, you have to be flexible. So, I pivoted to a fundamental pillar of composition: The Rule of Thirds.

The Challenge: A Beautiful Failure

I’ll admit it—I failed the challenge this week. I was all prepared to get wet and test my gear in the rain, but instead, I found myself hiking under blue skies. Since I couldn’t find a single raindrop, I decided to focus on how we “recipe” our photos using composition rules.

Mastering the Rule of Thirds

The Rule of Thirds is often the first “recipe” we learn. By imagining a grid of two horizontal and two vertical lines, we try to place our subjects at the intersection points to create more balance and interest.

During my hour-and-a-half hike, I spent a lot of time thinking about this rule. Is it a strict requirement, or just a starting point? I believe it’s a strong guide, but the real magic happens when you use it as a foundation to explore your own creativity.

Navigating Wind, Mud, and “Windows XP”

The hike wasn’t without its obstacles. The wind was so powerful it almost blew the audio right out of my microphone, and the recent heavy rains meant the river was massive and the trails were incredibly muddy.

Despite the mud (and the need for sturdy wellies!), I managed to capture some shots I’m really proud of:

• The Lonely Tree: A single subject standing on a cliffside, perfectly placed using the grid.
• The Farmhouse: A classic stone building tucked into the Derbyshire hills.
• The “Bliss” Landscape: I found a view of rolling green hills that looked exactly like the iconic Windows XP wallpaper!

Breaking the Gear Myth

I used my 17-40mm f/4 and my 70-200mm f/4 lens for most of these shots, but as I discussed on the trail, you don’t need professional gear to do this. Whether you have a high-end DSLR or just the phone in your pocket, the principles of composition remain the same. The best camera is the one you have with you when you’re out enjoying nature.

Reflections

Even though I didn’t get my rain shots, this week reminded me why I love this challenge. It forces you to get out, move your body, and look at the world differently. Milldale provided the perfect backdrop to practice the “recipe” of the Rule of Thirds while enjoying the rare Derbyshire sunshine.

What do you think? Do you find yourself sticking strictly to the Rule of Thirds, or do you prefer to break the rules and center your subjects? Let me know in the comments!

Next week’s theme is: Mobile Photography (Time to see what those phone cameras can really do!)

Until next week, stay safe and keep shooting!

— Alex

Macro is all about the details—finding the extraordinary in the ordinary. It’s like traveling into a new world, a mini world that you didn’t even know existed until you looked through the lens.

The Location: Shipley Park, Derbyshire

For this week’s challenge, I headed over to Shipley Park in Derbyshire. If you’re looking for a great spot to shoot, I highly recommend it. The parking is fantastic; there are plenty of spaces and it’s relatively cheap, which always makes the start of a photo walk much smoother.

The Challenge: Forgetting the Essentials

As I was walking from the car, I realized I had made a classic photographer’s mistake. I had remembered my umbrella to keep the gear dry, but I had completely forgotten my tripod.

In the world of macro, a tripod is usually your best friend. Without it, focus stacking (combining multiple images to get everything sharp) becomes nearly impossible. Shooting handheld at such high magnifications is a real test of patience and stability, especially when the conditions aren’t on your side.

Embracing the Rain and Mud

The weather was, frankly, bad. It was raining steadily, and the ground was a patchwork of mud and puddles. But as we learned last week, bad weather can often lead to unique photographic opportunities.

My first discovery was a cluster of mushrooms growing on the side of a tree. The dampness gave them a beautiful, subtle sheen. Just past those, I found a patch of moss that looked absolutely amazing. When you get that close with a macro lens, a simple clump of moss transforms into a lush, alien forest.

Further into the park, I came across several Hawthorn trees. They were heavily draped in lichens, providing intricate textures and patterns that are perfect for close-up work. Even without the tripod, the soft, overcast light helped bring out the natural colors of the Derbyshire landscape.

Back to the Studio: An Artificial Experiment

Since the weather cut my outdoor session a bit short, I decided to head back to my office and experiment with some macro shots using artificial light.

I set up a small “studio” scene:

• The Subject: Some beautiful white roses.
• The Background: I used a television running a YouTube video of moving clouds to create a dynamic, ethereal backdrop.
• The Setup: Finally back with my tripod! I set the camera up with a dedicated light source to control the shadows and highlights precisely.

Reflections

Despite the forgotten gear and the muddy boots, I’m really happy with how the images turned out. Moving from the organic, unpredictable environment of Shipley Park to the controlled setting of my office allowed me to explore two very different sides of macro photography.

Macro reminds us that beauty isn’t always found in the grand landscapes; sometimes, it’s right under our feet (or in a vase on our desk).

What do you think of the “TV background” technique? Have you ever tried using digital screens in your photography? I’d love to hear your thoughts in the comments!

Next week’s theme is: Rain (not that we don’t have enough already)

Until next week, stay safe and keep shooting!

— Alex

This week, the goal was to use natural or man-made elements within the scene to create a “window” for the viewer, adding depth and directing the eye toward the subject. But as is often the case with landscape photography, Mother Nature had her own plans for the day.

The Challenge: Embracing the Elements

I headed to Elvaston Park on a day that could only be described as “aggressively wet.” Large sections of the park were flooded, and the paths had turned into a muddy obstacle course. Thankfully, I had my trusty wellies!

The Gear:

• Canon 17-40mm f/4: For those wide, environmental frames.
• Canon 70-200mm f/4: To compress the scene and find tighter frames from a distance.

Finding the Frame

One of my favorite shots of the day happened early on. I found a clearance in the trees that acted as a perfect natural frame for the house in the distance. By shooting wide at 17mm, I was able to use the dark silhouettes of the branches to “encapsulate” the architecture.

A lucky moment also occurred by the lake, where a swan swam directly into my frame just as I was setting up!

The Hidden Discovery

The highlight of the trek was stumbling upon an old graveyard hidden within the park. The atmosphere was incredibly peaceful and somber. To stick to the challenge, I got low to the ground, using a combination of snowdrops and a weathered tombstone to frame the church in the background.

Reflections

Working in the rain and mud reminded me that photography isn’t always about perfect conditions—it’s about how you adapt. While the flooding restricted my movement, it forced me to look closer at my immediate surroundings for framing opportunities I might have otherwise walked right past.

Did I go too far photographing in the cemetery? I’d love to hear your thoughts. Check out the video below to see the full journey and the final results!

Next Week’s Theme: Get your close-up lenses ready… we are diving into Macro Photography! I can’t wait to see what tiny worlds we can discover.

Until then, stay safe and keep shooting!

— Alex

We’ve officially crossed the one-month mark of the 2026 challenge! After a very soggy Week 3 in the Peak District, the weather finally played ball this week. I headed over to Allestree Park to tackle Negative Space—a theme that’s all about what you don’t include in the frame.

The Mission

Negative space isn’t just “empty” space; it’s a tool to emphasize your subject and create a specific mood—usually one of scale, loneliness, or peace.

Watch the Week 4 Vlog here

The Highlights

1. The Sky as a Canvas I spent a lot of time looking up. I found a beautifully weathered tree and used my 17-40mm lens to isolate its branches against a clear blue sky. By placing the branches in the corner and letting the blue sky take up 70% of the frame, the intricate details of the wood really popped.

2. Silhouette vs. Texture I experimented with the light to see how it changed the “weight” of the negative space. Shooting toward the sun created a dark silhouette where the bright sky acted as a bold, high-contrast frame. Shooting with the sun at my back allowed the “weathered and damaged” texture of the bark to tell a story while the sky remained a soft, supporting background.

3. Minimalist Nature Beyond the trees, I managed to find two of my favorite shots of the week:

• The Lone Gull: Captured mid-flight against a vast, empty sky.
• The Swan: A black and white edit of a swan on the lake. The dark, still water created a heavy, dramatic negative space that made the white feathers of the swan look incredibly elegant.

A Lesson Learned (The Hard Way)

If you watch the video, you’ll see my “pro-tip” for the week: Always check your batteries! I went out with two batteries, and both were flashing red almost immediately. I managed to get my final shot—a single apple clinging to a winter branch—literally seconds before the camera died for good.

Final Thoughts

This week was a great reminder that sometimes “less is more.” It was the perfect palette cleanser before we head into February.

Next Week’s Theme: Frame Within a Frame (I’ve swapped this from the original list to focus more on creative composition!)

Did you find it hard to leave parts of your frame “empty” this week? Let me know in the comments!

Hard way: Shoot without a wide lens

Today we are in the Peak District again, taking the Monsal Head and Viaduct Circular. Derbyshire Dales ofers a lot of nice places to go and have a walk with different terain difficulties. This trail was just perfect, altough muddy and flooded in some places. The weather is not that great, (no surprises here) but we make the most of it.

See the YouTube video for this week:

Here are a few shots taken for this week’s challange:

This is not part of the challenge but I love the colors and the mood of this.

Final Thoughts / Next Week Teaser:

Not a lot has changed from last week, in terms of weather. It rained most of the time and was cold and windy. As you can see in the video, the trail was muddy and flooded, makinig this trail a bit tricky… because I forogot my wellies at home. Photography wise… not that great but I’ve manage to get a few shots and recharge my sould batteries.

Next week’s theme: Negative space

Hard way: 1hour time to shoot

This week I’m in Wollaton Park Nottingham.

The park is one of Nottingham’s most striking landscapes: a 500-acre historic deer park where nature, architecture, and stillness meet just a few miles from the city centre. At its heart sits Wollaton Hall, an iconic Elizabethan mansion perched above rolling grasslands and framed by tree-lined avenues, offering dramatic views across sweeping lawns and woodlands.

See the YouTube video for this week:

Here are a few shots taken for this week’s challange.

Final Thoughts / Next Week Teaser:

This week was a challange indeed. The English weather combined with day to day activities pushed my photochallange to the last day. But I had fun… real fun. I remembered some stuff from my childhood and traveled back in time when things were simpler. Did I managed to nail this week’s challnge? I guess so. What do you think?

Next week’s theme: Leading lines

Hard way: One subject, one color, no cropping

Minimalism in photography is about saying more with less. By stripping a scene down to its essential elements, the focus shifts to shape, light, color, and intention. In this challenge, I’m looking for simplicity, clean compositions, and quiet moments where a single subject can carry the entire frame.

Have I manage to do it? NO definetly not… I was all over the place, but at the same time I’ve learned a lot and the most important thing was that I enjoyed being outside and doing photography again. Maybe I will go out later in the year and I will redo this theme finding my balance and looking for better compositions.

See the YouTube video for this week:

Here are a few shots taken for this week’s challange. Below the gallery I will show you my favorite shot.

My favorite photo:

Final Thoughts / Next Week Teaser:

Some of the photos are clearly not strictly minimalism, but as a first photo walk and challenge, I’m happy with the results. I really enjoyed being out in nature.

Next week, I’ll tackle Week 2 – One Color, where I’ll restrict my shots to a single dominant hue.

Built with a metal body covered in black leatherette*, the Synchro Box featured a single-element meniscus lens with a fixed aperture of f/11. It supported two shutter speeds: instantaneous (around 1/30s) and bulb (for long exposures). A key feature that set it apart from its predecessors was its built-in synchronization for flash, hence the name “Synchro.” This made it particularly useful for indoor and low-light photography.

The camera used 120 roll film, capturing 6×9 cm negatives, which provided decent image quality for enlargements. It was equipped with a simple viewfinder, and focusing was fixed, making it ideal for snapshots.

The Agfa Synchro Box remained popular throughout the 1950s due to its affordability, durability, and ease of use. Today, it is a sought-after collectible among vintage camera enthusiasts.

*Leatherette is a synthetic material designed to look and feel like leather. It is made from fabric or paper coated with plastic, usually polyvinyl chloride (PVC) or polyurethane (PU). Leatherette is commonly used in camera bodies, book covers, car seats, and furniture because it is cheaper, more durable, and easier to maintain than real leather.

Characteristics

• It’s a 6×9 camera using 120 film 
• 120 format you get 8 frames on each film
• It has an aperture of f11 or f16 depending on which position to set the selector, and the aperture selector has a third position, also an f11 but adds a yellow filter to the equation
• It has a very simple shutter that is cocked and released in one movement of the shutter release button
• Shutter settings, 1/30th of a second or Bulb.
• There is a socket for a cable release, which is very helpful when your fastest shutter i 1/30
• Tripod threads
• There are two “view finders” one for each framing mode.
• A single-element meniscus lens is a simple optical lens with one convex side and one concave side.
• The focal length of the lens is 105mm which corresponds roughly to a 50mm on a full frame/24×36 camera
• Since the lens has a fixed aperture of f/11, the depth of field is relatively large, ensuring that subjects from about 2-3 meters to infinity remain in focus without manual adjustments.

Gicky stuff:

To calculate the 35mm equivalent focal length of the Agfa Synchro Box lens, we use the formula:

Equivalent Focal Length

Given values:

• Agfa Synchro Box frame size: 6×9 cm (60mm × 90mm)
• Standard 35mm film frame size: 24mm × 36mm
• Synchro Box focal length: ~105mm

Step 1: Calculate the diagonals

The 35mm equivalent focal length of the Agfa Synchro Box lens is approximately 42mm, meaning its field of view is similar to a standard wide-angle lens on a 35mm camera.

Photo’s from the trip:

Using an image of York, I play around with the settings to see how they impact the photo. This is just the beginning of a series where I’ll be discovering the creative possibilities of Affinity Photo’s lesser-known filters.